National Bunraku Theater at The Kennedy Center by David Dowling

National Bunraku Theater (@nationaltheatre_tokyo)

Terrace Theater,  the John F. Kennedy Center for the Performing Arts (@kennedycenter)

Tuesday. October 8th, 2024. 7:30p.m.

by David Dowling

Click below to hear an audio transcript of this review.

Before we begin, we must address the puppet in the room, and this is the presence of a Bunraku puppet show taking up residence in a dance-centered blog. Interestingly, within Tuesday night’s presentation of Sonezaki Shinju (The Love Suicides at Sonezaki) by the National Bunraku Theater, one can easily observe highly coordinated partnering work, dramatic lifts, and an accompanying score with dialogue.

Hailing from Osaka, Japan, and embarking on a U.S. Tour, the National Bunraku Theater brings with it the blessings of the Japan Society, and a mission of preservation and presentation. As a Libretto is the backbone for opera in its text, the Joruri in Bunraku puppetry is the musical accompaniment of the omozukai, the main puppeteer, the hidarizukai (or sashizukai) the left arm puppeteer, and the ashizukai, who operates the feet and legs.

The magic of the National Bunraku Theater could easily be summarized as “Oshichi ascends the tower”.

It should be noted that the traditional layout for a Bunraku puppet show is presented on a raised stage with a higher still narrator’s platform (Yuka). Meaning that anyone seated above eye level of the puppets will catch visual cues otherwise be hidden. I would not call it a distraction, as the show itself is captivating enough to rid you of any wandering glances. Another immediate observation was the pre-intermission introduction and demonstration of the Bunraku anatomy and process by the instantly charming Yoshida Minotaro. While extremely entertaining and informative, I did find it curious we first learned that the omozukai (main puppeteer) was traditionally played unmasked, while the other two puppeteers remain in black, however, the immediate feature presentation did, in fact, present all three puppeteers completely masked. I wondered if this was done for American audiences to help with the illusion. They did use the aforementioned “un-masked” formation in the short, opening sequence The Fire Watchtower.

One cannot continue without heaping a cornucopia of praise upon The Fire Watchtower. The Fire Watchtower, a short scene from Date Musume Koi no Higanoko (Oshichi, the Greengrocer’s Daughter) opens with no introduction, and we are immediately immersed in a stunning display of a lone tower awash delicate snowfall. Punching through this backdrop is a solitary woman in bright red, robes, contrasting the dark scenario she has found herself in. We hear, for the first time, the chanting of the Joruri , accompanied on shamisen. There is a wailing, a longing, and a torn heartbreak which sails above the syncopated shamisens as the Bachi, (the stick used to play the shamisen) move in fluttering harmony. While the audience adjusts to seeing the style of Bunraku play out, (possibly for the first time) we are treated to what could easily be called one of the best moments of the evening, as the character (based on a true story, and actual historical figure) Yaoya Oshichi (puppeteered by Toyomatsu Seinosuke, Kiritake Monyoshi, and Yoshida Minotaro) climbs a tower to ring a warning bell, risking her own life to save the man she loves. Detached from any visible human control, Oshichi attempts to climb, constantly “slipping” and struggling her way up the tower. It is this spectacle of perseverance and determination that immediately wins over an audience. One arm slips, the third puppeteer stomps. Another arms slips. Another stomp of severity. A call to a dire urgency. With these simple mechanics and locomotions, it is without question a moment that draws empathy normally reserved for a living thing. Beyond empathy it is highly entertaining, and equally captivating to see Oshichi clasping desperately to her cold and resistant path. Her magnificent robes, ill befitting the task, hindering while beautifying her. The magic of the National Bunraku Theater could easily be summarized as “Oshichi ascends the tower”. We are equally satisfied with seeing her successfully navigate the snowy obstacle, and “strike” the bell. 1, 2, 3. clang, clang, clang. A victory for us all, even if only a slight one for Oshichi.

Six puppeteers partner in a dance to coordinate the embrace, and place-switching of the two lovers. Something that, in any other form of puppetry, would be appear both unnatural and difficult, is done so at the ease and skill of the National Bunraku Theater professionals.

It’s early morning, just before 4am, and the troubled lovers, Tokubei and his lady, Ohatsu, are fleeing into the forest. The minimalist set consists of a curved bridge (soribashi) with many moving, painted image projections, cascading and fading in and out to create a living backdrop. We travel deeper into the forest, and the couple lament their situation. The man, Tokubei, repeating he cannot go through with this act, at one point trembling with hesitation at the horror of defiling his lover’s perfect skin. The lady Ohatsu, falling to her knees, professes her love for Tokubei. The couple embrace as morning draws near, and speak of their reputations, and what will become of them in the life thereafter. Six puppeteers partner in a dance to coordinate the embrace and place-switching of the two lovers. Something that, in any other form of puppetry, would be appear both unnatural and difficult is done so at the ease and skill of the National Bunraku Theater professionals. Still more puppeteers present to assist in the cutting and throwing of a cloth. Tokubei, brandishing his Wakizashi (a short sword and usual companion to the larger katana as part of a Daishō ) becomes increasingly frantic but the final act is finally here as Tokubei puts an end to Ohatsu and himself. Holding Ohatsu in his arms in his final moments, he hunches over her, downward, bathed in a single spotlight. Just before morning arrives, we pan to upward to reveal they have become two stars in the night sky. For two characters we have just met, it is a remarkable feat that we care so much for them.

Playing to a very full and eager house, the National Bunraku Theater received a standing ovation which may very well rival the required applauding duration for Beethoven’s 9th. With multiple bows and “thank you” waves from puppeteer and puppet alike, the performers walked from the stage, and into our imaginations, where Tokubei, and his lady, Ohatsu, will live forever.

-David Dowling

David Dowling (he/him) (@isitmodern) is the founder of Dancing in the District and works to make video and photography accessible and affordable to artists of the DC Metro area.